Bach’s motets are vocal works for small choirs and continuo
group; very subtle, small-scale works with very big musical
power and energy. This is the second time that Philippe Herreweghe
has recorded Bach’s motets; he first recorded them in 1985 for
Harmonia Mundi. This new recording is the second release on
Herreweghe’s own label, Phi (or f). The works range from a single
movement (BWV 228), to a 19-minute, 11-movement work (BWV 227).

Bach’s motets are perhaps the composer’s most subtle works.
One hears the same type of small choral compositions in some
movements of his cantatas, but the touch in the motets is much
lighter and the effects are more impressionistic.

Herreweghe uses small forces, with a group of twelve singers
in Choir I, and twelve singers in Choir II, for the motets for
double choir, together with an additional twelve musicians that
are present at different times, along with a continuo group
featuring a cello, double-bass and organ. Herreweghe rejects
the idea of performing these works with one singer per part,
saying, “we are still of the opinion that several approaches
are possible and even necessary if this wonderful music is to
sound at its best.” In this recording, he varies the use of
singers, rather than dogmatically imposing the same template
on each motet. Here’s how his forces work on this recording:-

From the stark minimalism of BWV 227 to the lusher works with
two choirs, there is a vast difference, but the sound-world
remains the same, that of Bach’s choral music based on liturgical
themes. Herreweghe claims that his “one line of conduct” is
“to sing and play the text in the manner of an ‘inspired preacher,’
[…] who would transmit the text to his parishioners in order
to persuade them by moving them.”

In some ways this results in a minimalistic approach; where
others may pile on the instruments, to create a bigger sound,
Herreweghe is content to use instruments for highlights and
little else. The result is a carefully crafted sound where the
voices take centre-stage, but are not left stranded on their
own.

But what do the above words tell us about the music? If you’re
not familiar with the motets, these questions of numbers of
musicians may seem obscure. It’s true that in the world of baroque
music, such questions are hotly argued, with some fundamentalists
coming down on the side of one voice per part, and others saying
that a forceful choir is needed. Herreweghe’s flexible approach
has the advantage of giving each of the motets a slightly different
colour, something not found in OVVP recordings, or in recordings
with larger choral groups.

These performances are imbued with delicacy and grace, where
every note is in the right place Herreweghe’s recording approaches
perfection, both in performance and sound, and that this recording
is destined to stand as the benchmark for recordings of these
works in the future. Quite simply, if you want a recording of
Bach’s motets, this is the one to get.

Kirk McElhearn Kirk McElhearn writes about more than just music on his blog
Kirkville.

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